About me

Since 2004 I have been excavating my own story. First in plays at Contact Theatre, The Royal Court, The Royal Exchange and The Arcola. Then June and Jennifer Gibbons story, when I realise that they didn't just burnt down their school, they were trying to join the 1981 Riots. It opens in the Traverse. Wins an Edinburgh Fringe First. Does a critically acclaimed 4* national tour.

Here’s where my real journey begins. I am exiled from rehearsal for suggesting my white, middle-class director is asking the secondary, white characters what they think, but telling the primary, black characters what to think. Heartbroken I lose my mind.

I have psychotherapy. Evolve my mind-maps into 8-stations. I am writing Why I Want to Stab a Blonde White Woman in the Royal Court Bar. The Royal Court loves the title. The play will happen inside the audience as they accord different empathy to the black and white actresses even though it is the same story. I write — it also shows both sides of me: my mum is white.

No one will believe me. I am black. Except in the Reno’s wall-to-wall half-caste. I walk to the buried, legendary, 1970s Moss Side cellar club. And sit amongst its poppies.

Arts Council England funded I collect Reno memoirs. I excavate it. Exhibit our finds in the Whitworth Art Gallery. Excavate the intertwined memoirs of three Reno ladies who have never written before, using my 12-words technique that effortlessly creates content. A writing technique I have developed over 25 years.

When I began that, I also hand wrote Pillars and Planks. It wasn't very good. I don't know how to carry fiction forward. 2024. Factory International walking down Bette Davis stairs, wearing a £2000, bespoke denim ball gown, using my Irish mum's status to declare myself the mistress of the Jamaican plantation my enslaved dad descends from, I realise: I planted the seeds of In the Ruins of the Big House then.